Saturday 31 December 2011
This old song of late Sri.M.K.Thyagaraja Bhagavathar can never cease to haunt me. While recording this song for the album, "Veena Tharangini" almost 2 decades ago, I strived with all my being to convey the legendary singer's emotions through my fingers and my veena. My life long favourite!!
Wednesday 28 December 2011
Sunday 25 December 2011
As one of my mother's foremost students I sadly missed attending the award function where my mother was felicitated by VDS Arts Academy with the title of "Kalacharya Sironmani" on December 21st, 2011. The birth of my second grand daughter on December 17th kept me happily busy in Bangalore.
Sri.P.S.Narayanaswamy presenting the award to my mother.
Wednesday 7 December 2011
Friday 2 December 2011
Lakshmi Gayathri:- "Mahadevyaicha Vidmahey Vishnupathnyaicha Dheemahee Thanno Lakshmi Prachodayaath."
For job oppurtunities or promotion/enhancement of professional status:- Chant first Vishnu Gayathri, second Lakshmi Gayathri and third and finally Vishnu Gayathri. The combined chanting in the same order as stated in the previous sentence for atleast 11 times everyday.
For cash inflow and accumulation of wealth:- Chant first Lakshmi Gayathri, second Vishnu Gayathri and third and finally Lakshmi Gayathri. The combined chanting in the same order as stated in the previous sentence for atleast 11 times everyday.
Wednesday 16 November 2011
Excerpts from Paul Brunton's "Perspectives":-
"I shall never forget the wonderful message which Ramana Maharshi sent me by the lips of an Indian friend (he never wrote letters). It was some years before his death and my friend was visiting the ashram preparatory to a visit to the West, whither he was being sent on a mission by his government. I had long been estranged from the ashram management, and there seemed no likelihood of my ever seeing the saint again. The visitor mentioned to the Maharshi that he intended to meet me: was there any communication of which he could be the bearer? "Yes", said the Maharshi, "When heart speaks to heart, what is there to say?" Now I don't know if He was aware of Beethoven's existence in the distant world of Western music, but I am certain he couldn't have known that the dedication to the "Missa Solemnis" was "May heart speak to heart". This is a work whose infrequent performance stirs me to depths when I hear it, so reverential, so supernal is it. Few know that Beethoven himself regarded the Missa as his greatest composition. It must surely be his most spiritual composition, a perfect expression of the link beteen man and God."
(Posting the article on Bhagawan's auspicious birth star, Punarvasu).
Musical portrayal of The Formidable Self that has neither a beginning nor an end................... (as felt by me each time I listen to this masterpiece composed and performed with astounding perfection of the divine vocals and unparalleled instrumental technique........... dumbfounded!!!!!!!!!!!!)
Tuesday 8 November 2011
On a rainy November 5th evening at Amma's residence receiving the official orders.
(Click on images to enlarge).
Tuesday 1 November 2011
Confirming the above, I received official confirmation too. The ruling Tamilnadu Government's act of honouring our vedic instrument marks the beginning of my Veena Festival!
Starting to pack my luggage and heading for Chennai, I look up to God for guidance in my new assignment as Honorary Director of TN Music Colleges.
I thank Amma for this great honour!
Friday 30 September 2011
Saraswathee Namasthubhyam Varadey Kaamaroopini,
Vidyaarambham Karishyaami Siddhir Bhavathumeysadaa!
(Mamavathu Sri Saraswathi, Composer: Sri.Mysore Vasudevachar, Ragam: Hindolam, Thalam:Adi.
For the fusion album, "Unique". Fusion music composed by late Sri.L.Vaidyanathan. Veena recorded on multi tracks, unique feature-combination of konnakkol and veena.)
Moola Nakshathram is the constellation of Goddess Saraswathi. During Sharan Navarathri the star "Moola" usually comes on Maha Sapthami thithi and considered most auspicious for worshipping the Mother of Knowledge. The three days starting from Moola Nakshathram are dedicated to the worship of Goddess Saraswathi. Maha Navami is celebrated as Ayudha/ Saraswathi Pooja which is on the 5th of October this year.
In "Deivaththin Kural" Maha Periyava has stated that Soundarya Lahari slokas no. 3, 12, 15, 16, 17, 60, 64, 75, 98 and 99 invoke the grace and blessings of Goddess Saraswathi. Slokas no. 96 and 99 invoke the grace of both the Goddesses Lakshmi and Saraswathi. For proficiency in music, slokas 66 and 69.
Vijayadashami comes with the constellation of Shravana Nakshathram, the constellation in which Lord Balaji was born. The conclusion of Navarathri and Brahmotsavam on the Seven Hills happen together, signifying that Lord Balaji and Goddess Bala Tripurasundari are one and the same.
Monday 26 September 2011
Sri Paramahamsa Sachchidananda Yogeeswarar
As told by the yogi:-
(The secret behind Kasi Temple)
" You all are aware that Kasi Punya Kshethram ( the holy Varanasi, Benaras) is the most famous place for religious worship in our country, India. I will tell you a few facts about the Kasi temple.
When I visited the Kasi temple, on one fine day I went inside the sanctum-sanctorum (Moolasthaanam) of the temple. I stood by a side and observed the temple and its proceedings. The temple was extremely crowded and devotees pushed each other to reach the Shiva Lingam. The crowd was very thick and there was absolutely no space in between the devotees. People who reached the Shiva Lingam sat around the Lingam and poured some water (from their personal individual vessels which they carried with them into the temple) over the Lingam and scrubbed the Lingam with their hands. They poured the remaining water into the pot ("dhaaraapaathra"- pot with a hole in the bottom, facilitating the water to flow out of the bottom of the vessel) tied right on top of the Shiva Lingam. After emptying the water on the Lingam first and then into the holed-pot tied above the Lingam, the devotees placed a few flowers on the Shiva Lingam. In no time and just within seconds of placing the flowers on the Lingam, another devotee would push aside the flowers to pour some water out of his vessel and the rest of the water into the pot tied on top of the Lingam. This process continued for what seemed like eternity while even the "Archakudu" (priest) would push away the flowers the sooner they were placed on top of the Lingam. I found another priest who would gather all the discarded flowers and poured them in a heap in a far corner. He would hurry back to wash and clean within and outside the sanctum-sanctorum.
Devotees who had completed the ritual of wahing the Lingam, pouring the remaining water into the pot tied above the Lingam and placing flowers on the Lingam would take the water floating in the pit of the Lingam to drink the same. I watched all these proceedings with interest for awhile.
After sometime I looked at the front of the Lingam. I discovered that the Nandi was not placed right in front of the Shiva Lingam. The Nandi was placed slightly away from the Lingam. Apart from this, the Balipeetham, Dhwajasthambam, Gopuram (Temple Tower) etc., were not constructed in Kasi temple as per the requirements of temple construction. Nobody who goes on a pilgrimage to the Kasi temple notices all these things. Didn't I tell you that as we enter the temple, the first thing should be the Gopuram, in front of the Gopuram there has to be a Dhwajasthambam, in front of the Dwhwajasthambam a Balipeetham, in front of the Balipeetham a Nandi and in front of the Nandi, finally the Shiva Lingam has to be be placed?I was surprised to see all that missing in the Kasi temple. I was determined to find out the reason behind the misplacement of vital temple requisites. I walked all around the temple and observed. The temple tower (Gopuram), Balipeetham, Dhwajasthambam were nowhere in sight inside the temple. After making sure I did not miss or mistake anything, I walked through an entrance into the temple and looked around the place. There I found a huge ("goppa" in telugu means "great" but in this case the blogger assumes that it could mean "huge") Nandi slightly away from Kasi Visweswara Lingam. But this Nandi faced the same direction as Kasi Visweswara Lingam while presenting its rear side to the Visweswara Lingam. Further to my amazement I discovered that the Nandi sat facing a mosque....."
(To be continued......)
Sunday 4 September 2011
Sunday 28 August 2011
Devotees believe Shravana masa, Karthika masa, and Margashira masa are the most auspicious months to perform Aslesha bali puja at Kukke temple.
The song above is "Magudi", song of the snakes, set to raga Punnagavarali and composed by my father, late Sri.G.Aswathama and rendered by myself (for the fusion album, "Unique", by late composer/violinist Sri L.Vaidyanathan). My sister, Shyamala Sajnani uploaded and sent me the song today which coincidentally happened to be Aslesha Nakshathram!!
Wednesday 24 August 2011
As told by the yogi-
Friday 12 August 2011
Wednesday 10 August 2011
Thursday 28 July 2011
Sri Paramahamsa Sachchidananda Yogeeswarar
As told by the yogi:-
"Samadhi is a state where the practitioner succeeds in fully controlling his mind by shutting his mind to all mundane thoughts. Therefore devotees who go to the sanctum-santorum to have the darshan of God should not seek material favours. The devotee's only wish and aspiration should be to attain the Lotus feet of the Lord. With a clean and pure heart and with a steady gaze (by not looking here and there) the devotee has to enter the sanctum-santorum of the temple. The mind becomes fickle if the devotee allows his/her gaze to wander here and there. A fickle mind invites desire.Therefore the devotees should focus there total attention and thought on God as they enter the sanctum-santorum of the temple.
Click on the photograph (of Sri Paramahamsa Sachchidanada Yogeeswarar) to enlarge.
Cuddapah Sri Paramahamsa Sachchidananda Yogeeswarar, born in Kanchipuram on February 16th, 1865 and attained 'nirvikalpa samadhi' on January 7th, 1957, was a great devotee of Ekaambreswara Nadha of Kanchipuram from the age of 12. It is believed that He had the darshan of Lord Ekaambreswara in the guise of a sage. The website www.cuddapahswami.org has lot more information about His Holiness.
In His book, "Shareeradevaalaya Rahasyaardhapaarijaathamu", His Holiness Sri Paramahamsa Sachchidananda Yogeeswarar has shown His body as the temple of God. He has explained as follows:-
As per the photograph above, in the lying posture, He has stated that the elders have determined the feet to be the "Gopuram" (tower) of temple.The ten fingers outlining both the feet are the ten "Kalashams" on top of the Gopuram. As we enter the temple through the "Gopuram-Feet", we first encounter "Prajaapathi" in the form of the "Dhwajasthambam"(Prajapathi is the Supreme God Who presides over procreation and is the Protector of the Universe).
In order to dispel any doubts that may arise in the minds of the readers, His Holiness has explained why the male reproductive organ is depicted as Prajaapathi. As the Creator of women, men, elephants, horses, cows, buffaloes, donkeys, dogs, deers, other wild and tame animals, crawling creatures like snakes, tortoises, ants, bugs,worms etc. and flying creatures like innumerable varieties of birds, mosquitoes, creatures that live in water like fish, and other sea -creatures, it is but natural that the reproductive organ of the male stands for the Dhwajasthambam. The primary deity for Prajaapathi is Lord Brahma according to epics. Moreover, the navel is placed in front of Prajaapathi. This navel represents the "Bali Peetham". The Bali Peetham is where the sacrifice is performed. His Holiness has named the 10 sacrifices one must perform in this place:-
1)Desire:- Desire for somebody's wife, one's own wife, sons, daughters, wealth, accumulation of property. Narakasura had perished due to this quality.
2)Anger:-Unable to bear other's prosperity and even attempting to hinder their growth. Bakasura had perished due this quality.
3)Selfishness:-Enjoying one's own wealth greedily, not sharing even a little with anybody. Duryodhana had perished due to this quality.
4)Fascination:-For mother, children, spouse, not being satisfied with one's own wealth-trying to accumulate more and more property. King Dasharadha had perished due to fascination for son, Lord Rama.
5)Arrogance:- Excessive success and accumulation of wealth could lead one to this state, where the native does not care for the feelings of others. Karthaveeryaarjuna perished due to this quality.
6)Spitefulness:-Not being able to bear others' prosperity even though the native himself is prosperous and happy. Trying to subjugate others and their growth. Sishupala became the victim of Lord Krishna's discus due to this quality.
7)Pomposity:-Giving charity, performing "yagnas"(holy rituals) on a grand scale only to impress others. Puroorava Chakravarthi is a fine example of this quality.
8)Condescension:-Assuming oneself to be the greatest in personal and monetary affairs. Parashurama had this quality.
9) Intolerance and ill-will:-Wishing that others are as unhappy as oneself. Hari Sakshi had this quality.
10)Jealousy/Envy:-Trying to harm those who have harmed you. Poundareeka Vasudeva had this quality.
Even if men and women do not possess every quality mentioned above, they may have atleast one or two qualities out of the 10 bad qualities. Therefore, these qualities have to be sacrificed at the "Bali Peetham" (navel) to enter the sanctum santorum of the temple with a cleansed and purified heart and mind.
The process of sacrificing the bad qualities at the "Bali Peetham" is as follows:-
As we enter the temple tower (Gopuram), and past the "Dhwajasthambam", we must stand next to the "Bali Peetham" with folded hands praying fervently, "I am sacrificing all my bad qualities and tendencies here at the 'Bali Peetha'. Now I do not possess bad qualities. Now I am going to enter the sanctum santorum of the temple to have the 'darshan' of God."
After offering salutations to the "Bali Peetham" and purifying ourselves we must enter the "Moola Sthaanam" (sanctum santorum) of the temple without any thought or feeling. When we are able to enter the 'moola sthanam' totally devoid of thought or feeling, such a state is called as "Samadhi."
(To be continued.....)
Wednesday 27 July 2011
Following many requests to write about my travel experiences, I am publishing this light-hearted article, my experience in one of my innumerable concert tours in the past.
Thursday 21 July 2011
Tuesday 19 July 2011
Swan is a bird of elegance, beauty and purity. Hamsa in Hinduism is the bird vehicle of the Goddess of Learning, Saraswathi. The swan-shaped constellation, Cygnus in the zodiac sign, Libra is believed to be the seat of Goddess Saraswathi from where scientists, many decades ago detected a hissing noise defined as the "Omkara" which pervades the Universe and oneself.
Thursday 14 July 2011
Wednesday 13 July 2011
Monday 4 July 2011
Wednesday 22 June 2011
Those were days when I was studying 8th or 9th standard in school. I remember a Sunday morning when I woke up, jumped out of bed and ran sleepy eyed and groggy to the drawing room, to grab Indian Express before my father or anybody else at home laid there hands on the copy.
My classmate had to remind me many times the previous day (Saturdays were always half-a-days at school) to go through Peter Vidal's weekly forecast ( looking animated, she told me fervently in true schoolgirl spirit,"don't forget to read Peter Vidal's column in Indian Express ya, it is soooooooo true ya!! EVERYTHING he writes comes true, it is like magic ya!! Surely it will come true even for you ya!!). Even though I had my own doubts, I was curious as hell, I replied, "Yes ya!!"
My heart beating fast I scanned the magazine section hoping to find fairy tale stuff for Scorpios. I still remember how let down I felt when I read what was predicted for Scorpios. The forecast was all about repairs of old pipelines being a grand success that week and also a possible visit to the doctor towards mid-week. So much for my friend's great recommendation!I prayed fervently to God that the prediction should not come true, till date I hate going to the doctor and old or new,pipelines simply do not exist in my world!
The next day in school I had a tiff with my classmate about Peter Vidal. "All lies, I don't believe his prediction ya!" Looking very hurt she replied ardently, "No ya, even this week what he wrote about me came true!"
"Maybe he hates Scorpios!" I said heatedly.
"Nothing of that sort ya! Even for me the first few weeks nothing came true ya, after 3 or 4 weeks everything he said started coming true, as though he is writing only for my sake, it is like magic!"
"Don't tell me for you Librans he writes all about chocolate houses and picnics to great places and only for Scorpios he predicts old pipeline repairs!"
Wide eyed she replied, "No ya, once he wrote that I would meet with an accident. I was very careful and alert while walking on the road, but you know what?! I slipped and fell in my bathroom!"
"Really!!" fascinated, I decided to wait patiently for his predictions about Scorpios to come true.
The predictions for the following 2 to 3 weeks had no effect on my routine life but my interest in reading Peter Vidal's forecast stuck on and I continued to read his star forecast every Sunday without fail.
Around the 4th Sunday it suddenly struck me that the previous week went on just as Peter Vidal had predicted. Instantly alerted, I went through the star forecast for the following week with renewed interest. While reading the forecast I had a strong hunch that the prediction was going to come true the forthcoming week and Voila- the week turned out to be as predicted!
Gradually the weekly predictions, if not all of them, atleast most of them shaped into reality for me and I became a dedicated follower of Peter Vidal.
Somewhere along the line I lost touch with his columns but coming to think of the whole thing I firmly believe that there has to be a certain mechanism behind the manifestation of something as mundane as general forecast of sun signs. Only natal horoscope charts of individuals contain intricate dimensions of his/her nature, personality and events related to past, present and future of the native. Whereas a general forecast is based on mere sun signs and every sun sign relates to zillions of natives around the world and for the entire world to go through only 12 kinds (based on 12 sun signs)of events or circumstances every week is ridiculous if not bizarre!
The secret behind the materialization of a star forecast:- Those natives for whom the predictions fail are mostly the ones who are not reading the astrologer's columns!An avid follower of forecast columns is usually optimistic or wants solutions to his/her problems.
Therefore, those who go through the forecast are wishing/hoping/praying for the predictions to come true or bear fruit. Fervent hope and belief in the prediction are the driving forces behind its manifestation!
Our thoughts and beliefs are our lives. Instead of allowing somebody else to shape our lives according to their forecast,we could very well write down our own forecast. Just pen your dreams, desires and ambitions, with as much colour as you want. Believe in what you write! Let the writings be in present tense! They may sound like affirmations, no harm!
Maybe the first 2 or 3 weeks nothing may happen, but watch from the 4th week onwards- as accurate as Peter Vidal's forecast and just as my classmate said, it will be MAGIC ya!!
(To be continued.....)
Saturday 18 June 2011
(Continued from June 4th, 2010 posting)
148)Ithi Devasya Vaakyaani Prashashamsurmaharshyaha!
Thadhaa Cha Kruthavaan Jaathavedaahaa Vedavishaaradhaha!!
Meaning:The sages and monks in the gathering were pleased by the Lord's instructions. The learned Vedic scholar that He was, Agnihothra carried out the Lord's wishes.
149)Evam Vichithrakarmaani Harervaikunthavaasinaha!
Meaning:It was fascinating to witness the Lord who resides in Vaikuntha, The One who reincarnates as the celebrated Forms according to "yugas" ( name of an 'epoch' or 'era' consisting of four yugas namely, 'Sathya Yuga", 'Threthaa Yuga', 'Daapara Yuga' and 'Kali Yuga') behaving like a human being!
150)Achinthyam Devathaakaaryam Avaangmanasagocharam!
Dadhyodanathilaanne Cha Paramaannam Madhusravam!!
Meaning:The words and deeds of God are beyond human mind or speech!
Afterwards, Agnihothra went ahead and prepared curd rice, rice mixed with sesame seeds, and sweet rice kheer dripping of honey.
151)Maashaapoopaahaa Gudaapoopaahaa Shaakadvaya Mathaha Param!
Sarvam Supakvathaam Neetham Thvathprasaadeyna Keshava!!
Meaning:Snacks made of Urad Dhal, sweet pancakes made of jaggery, two varieties of vegetable curries have been prepared due to the Grace of Thee!!
152)Amanthraya Dvijendraamscha Suraanapi Muneenapi!
Agnivaaneem Samaakarnya Sreenivaaso Niraamayaha!!
Meaning:...So please invite the learned brahmins, Devaas and sages' and Lord Sreenivasa felt pacified and to invite them....
153)Sampreshayachchivasutham Shanmukham Midhileshwara!
SREE SESHAADRAUKASHYAPAADIBHYO BRAHMAADIKRUTHOPACHAARAPRAKAARAHA
Meaning:The Lord called out to Janaka Maharaja to summon Lord Shanmukha, son of Lord Shiva.
ON SESHAACHALAA LORD BRAHMA WAS PAYING OBEISANCE TO SAGE KASHYAPA.
Lord Shanmukha rushed towards in their direction and hastened Lord Brahma, Sage Kashyapa and the pit of fire (agnihothra) surrounded by mantra-chanting...
154)Braahmanaan Vedavidushaha Aajuhaava Janaadhipa!
Paaka Ssampoornathaam Uththishtatha Suradijaaha!!
Meaning:Learned brahmin scholars who are the best among twice born, noble personages! Please be kind enough to grace the luncheon, the food is ready!!
155)Ithi Thena Samaahoothaahaa Kashyapaathripurogamaaha!
Devaashcha Nikatam Thasya Paakasthaanasya Bhejirey!!
Meaning: On receiving the invitation, Sage Kashyapa and Sage Athri in the company of other learned sages and Devaas rushed towards he dining hall.
156)Vibhajya Thathra Vidhivath Paathrabhoothaan Prudhak Prudhak!
Panktheeshcha Kaarayithvaadha Thaarathamyaanusaarathaha!!
Meaning:Lord Shiva who was assigned the duty of attending to the guests, seated them in different groups according to their ranks.
(To be continued....)
Wednesday 15 June 2011
Saturday 11 June 2011
Raga Bhairavi in all its sublime melody represents Tripura Bhairavi.
Tripurasundari:- Beauty, charm, enhancement of feminine elegance (in male practitioners enhancement of overall charm), magnetism towards opposite sex, ability to entice people, charismatic looks /demeanour and influence in high places, contacts with royal personages.(This Red Goddess is an enchanting beauty of the Three Cities, in Her prime of youth. She is the main Goddess worshipped by Tantriks who belong to the Shaaktha tradition called as "Srividya Upasana.")
Raga Kalyani invokes Her. The delicate and delicious nuances of Kalyani epitomise and bring to life the form of Maha Tripurasundari in all Her beauty, grace and passion. Contemplation of this raga establishes contact with this Divine Beauty.
Raga Sudhdha dhanyasi cascades into Her form.
Sudhdha Saveri is the basic and general raga of all forms of Shakthi.
(To be continued.....)
Friday 10 June 2011
"A little girl just like you is going to play veena this evening in our sabha." Late Sri. Venkatakrishnan,President of Sri Parthasarathy Swami Sabha told me. As a tiny tot of nine, I was fascinated.
"Oh, who is she?" I asked him curiously.
"Her name is Meduri Subbalakshmi, like you even she is from Andhra. Come to the sabha and listen to her."
As I recall,that evening I was taken to the greenroom where Subbalakshmi was sitting demurely next to her veena, the tuning of tambura and mridangam in progress. Her sparkling nose stud and clear white blouse on top of her long silk skirt remain in my memory even now. I remember wishing for curly hair like hers. She looked my age, quiet and reserved. We smiled shyly as we were introduced to each other.I found her a lot more quieter than me as I jumped all over the place uninhibitedly.
Showtime and Subbalakshmi was shown the stage and myself a seat in the front row.
Her playing took my breath away right from the start! She was a natural with veena. Her plucking and left hand technique were absolutely aesthetic and stunning! Till date I remember her Kalyani and the excellent nuances she had produced in the raga.I looked at her with new eyes, noticing the uniqueness about her.
After that we met whenever she visited Madras to perform, ate together, and spoke affectionately to each other.There was never any tension or that weird sense of alertness between us while interacting with each other as veena artistes.
We gradually lost touch and later I heard that she got married and settled well (presently known as Smt. Subbalakshmi Sathyanand). Often I would think of her wondering about her approach to veena post marriage.
I chanced upon her younger brother's (Sri.Meduri Srinivassrinivasmeduri1234@rediffmail.com ) veena recital on SVBC Channel who is an artiste of repute. His versatility and manodharma revealed that he is Subbalakshmi's brother.
I was delighted to know that Subbalakshmi is in India (right now) and it seemed like old times as we chatted endlessly on phone (just like our childhood days). During our conversation I gathered details about her approach to veena. The above clipping of Thodi bears testimony to her meditative approach to veena.
Subbalakshmi is a wonderful veena vidushi, who plays her veena as an offering to God. She told me that she played during 'Sandhya" kalam (break of dawn and dusk, the junction between sunrise/sunset and vice versa) as worship by rendering vedic prayers on veena to Lord Ganesha, and "Siva Siva", the Pantuvarali krithi of Saint Thyagaraja everyday without fail .
Subbalakshmi also practises the krithis of Saint Thyagaraja, especially the two krithis (Rama Nannu Brovara and Undedi Ramudokkadu) in Hari Kambodhi as a spiritual exercise. She told me how she focused on the 'samyoga' (union) of feeling (bhava) and expression (technique) when she rendered the divine krithis of the great saint composer on her veena. Subbalakshmi cited the instance when she had to repeat the phrase "kshemakarudu" (in "Undedi Ramudu....) on veena innumerable times until she could merge her soul and the phrase through expression (her hand technique on veena).
Just like voice, there are true and false veenas too. The purity of approach and yogic way of playing veena are detected only in the absence of amplifying gadgets attached to the instrument. The resonance of veena is partly the prana shakthi of the player. Notice Subbalakshmi's veena without gadgets and one cannot miss the golden aura of sheer veena tones, which is the tone of her inner self resonating through the veena. The naked tones of prana combined with veena nada is audible only minus amplification. It is also noteworthy that Subbalakshmi has not wasted her pranic energy through strain and demands of over-performing. Also, her playing has not suffered the ill effects of "drishti" from jealous and antagonistic scrutiny, mostly an occupational hazard for artistes who are constantly exposed to public gaze.
Smt.Subbalakshmi Sathyanand is also an artiste with All India Radio/Doordarshan and performs regularly.
Sunday 5 June 2011
Saturday 4 June 2011
A child sits naturally erect while playing the veena, the 'veena dandi' while the veena rests on the child's lap, comes up to his/her arm level. The child is able to run its hands across the frets of the veena without looking down and stooping, the act causing his/her spine to bend. A child between between 4-6 years of age has to reach up for the 'dandi' to be able to play the veena and a child between 6 or 7 years of age to 13 or 14 is able to handle the 'dandi' by sitting naturally erect which results in a straight spinal posture. Why is it essential to keep the spine erect while playing the veena? (Kindly refer to my earlier posts on the science of veena and meditation through veena yoga).
Adults and tall practitioners may place cushions below the 'kudam'(the dome on the right side) to raise its height to elbow level and place correspondingly more number of cushions (more number than the right side)below the 'surakkai' (the left side rest of the veena) to make the left side of the veena raise above the right side, making it look inclined. The practitioner now sits between the right and left cushions to play the veena without placing the 'surakkai' on his/her thigh. The idea is to raise the height of the veena for the comfort of the practitioner, so that he/she does not have to bend or stoop to run the hands across the frets or to pluck the strings.
Many times I thought of even sitting in "Vajrasana" (this asana is most effective in accelerating the flow of pranic energy) for playing the veena, I should try it sometime! Rudra veena is played on "Vajrasana".
Now, as the practitioner settles comfortably with a raised veena according to the length of his/her torso, he/she should now concentrate on posture.
First push back shoulders, raise the chin up and look straight ahead as you play the veena. It is absolutely necessary to sit as erect as possible for free flow of pranic energy from the muladhara to upwards. The only disadvantage in such a posture is that the player cannot look down at the frets while playing. This may cause some slips in the swaras (notes), but for an advanced practitioner it may not be difficult. It helps to practice in a dark room without the lights on. To play veena for meditation, one must play without following the movements of the left hand with one's gaze.
The practitioner need not worry about the breath patterns, the melody and purity of the music which he/she is producing becomes the breath-regulator. At a point when the practitioner is lost in the melody, suspension of breath or 'kumbhakam' which is the key factor for 'kundalini yoga'(breath retention) becomes a natural phenomenon.
To practice as stated above on an "Ekanda Veena" ( veena which is not made of separate woods and joined at the neck region but made of a single piece of wood without a joint piece at the neck region) made of pure jack fruit wood yields maximum results. The benefits are bountiful and the practitioner witnesses great changes for the better in life. The pranic force generated by such a yogic rendering of veena surpasses all the benefits derived by usage of high potency vitamins, high potency nerve related or anti-stress medication. Veena is a magical instrument if rendered as per yogic principles.
Mantras for Veena:-
For practitioners who are unable to progress in veena for whatever reasons:-
"Veena Vaadana Thathparaam Thrinayanaam Mandasmithaam Sanmukheem
Vaamey Paashadhanurdharaam Thu Nikarey Baanam Thathaa Dakshiney.
Paaraavaaravihaarineem Paramayeem Brahmaasaney Samsthithaam
Vande Sankatanaashineem Bhagavatheem Maathangineem Baalikaam."
Thrilochanakutumbineem Thripurasundareem Aashraye."
TRIPURASUNDARI MAANASAPOOJA STOTRAM:-
"Veenaamupaanthey Khalu Vaadayanthyai
Nivedya Sesham Khalu Seshikaayai
Jaleyna Shudhdhaachamanam Vidheyhi."
The Eleventh chapter of Durga Sapthasathi.
All Durga related mantras.
"Vim" is the Bheejaakshara for veena.
Best Veena Mantra:-
"AIM HREEM SHREEM NAMO BHAGAVATHYAI VIM VEENAAYAI MAMA SANGEETHA VIDYAAM PRAYACHCHA SWAAHA."
(To be continued...........)
Saturday 28 May 2011
After formal education in philosophy and mathematics,at Stanford and Harvard, Wolff devoted himself to the goal of transcending the normal limits of human consciousness. After exploring various mystical teachings and paths, he dedicated himself to the path of Jnana yoga and the writings of Shanakara, Founder of the Advaita Vedanta School of Hindu philosophy. In 1936, Wolff experienced a profound sense of liberation and awakening, which provided the basis for his transcendental philosophy. He authored many books namely, The Philosophy Of Consciousness Without An Object, Pathways through To Space and Transformations In Consciousness The Metaphysica And Epistemology.
Excerpts from his work:-
"The Ways of Union
There are different ways of Yoga, primarily three: the Yoga of Devotion, the Yoga of Action, or of the Will, and the Yoga of Knowledge. There are technical forms of Yoga, such as Hatha Yoga, Raja Yoga, Mantra Yoga, Laya Yoga, Kundalini Yoga and so on. These are not really so much different forms as technical additives. The three forms are Devotion, corresponding to feeling; Karma, corresponding to the activistic element in consciousness (the technical term for it is conation); and Jnana Yoga, which is oriented to the cognitive faculties, the cognitive side. We'll not go into the relative valuation of these different forms of Yoga. Each will find his own way, ultimately. Aurobindo recommends a synthetic Yoga which involves going through all three forms, successively, or simultaneously. It's not necessary, but he may have a good idea there.
The valuation of them, as to which leads the furthest and so forth, is different with different writers. There's a tendency in human nature to regard the form which I take as therefore being the highest. Any "I am." I'm speaking to the I in you. In other words, there is a bit of egoism in that. Shankara places Jnana Yoga as the highest. Aurobindo rates Bhakti Yoga as the highest. It affords two different ways of interpreting the Bhagavad Gita, which deals with these three different forms of Yoga, the trimarga. Shankara would say the first, which is treated in the second chapter of the Gita, the Yoga of Knowledge, is the highest. But if you're unable to meet that altitude, then there is provided for you at a somewhat simpler and easier level, the Yoga of Action. And if that too is a little too much for you, there is the final form of the Yoga of Devotion, an orientation to the Person of the Divine, if you please, rather than to the Power or the Wisdom of the Divine, to use the religious form of language.
Now I'll outline a philosophic position, to orient an attitude favorable to Jnana Yoga. It's for you to place, for the time being, in your emptied minds, not something you are forced to agree with. I ask you to take a journey with me and see how you like the scenery. If it is not to your taste, then you may turn otherwhere; it is perfectly all right. Just a journey, to see the scenery, if you can."
Above are photos of Ajna Ashram (the above links to site regarding the ashram). The ashram is not inhabited by anybody due to weather conditions. The photo of the homa gundam and stone-platform for meditation in one of the rooms in the ashram. Below is a youtube clipping of this advaitic ashram in California.